Page 57 - Sotheby's Arts of Asia Paris, June 16, 2022

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PROPERTY FROM A EUROPEAN PRIVATE COLLECTION 西藏中部 約十三世紀 合金銅金剛薩埵坐像
A RARE AND IMPORTANT COPPER-ALLOY 來源 :
FIGURE OF VAJRASATTVA Joe Gelpey, 倫敦
CENTRAL TIBET, CA. 13TH CENTURY Kemper女士, 倫敦
Marcel Nies, 比利時
copper alloy with silver inlaid eyes, seated in 出版 :
vajraparyankasana, holding a vajra in the left hand
H. 55 cm, 25½ in. 施羅德著，《Indo-Tibetan Bronzes》，香港1981年, 頁189，圖
38E
PROVENANCE Jan van Alphen博士，《Cast for Eternity : Bronze Masterworks
Joe Gelpey, London. from India and the Himalayas in Belgium and Dutch Collections》，
Mrs Kemper, London. 安特衛普，2004年，頁156-157，編號48
Marcel Nies, Belgium.

普遍認爲，如本像之早期西藏作例源於西藏西部地區，但其實
EXHIBITED 此類造像則更可能來自西藏中部，後者風格源自帕拉時期（公
Cast for Eternity : Bronze Masterworks from India and the 元 8-12 世紀）東印度藝術，直至十四世紀左右爲止。帕拉造
Himalayas in Belgium and Dutch Collections, Ethnographic 像，雙目嵌銀，纓絡滿綴，頂冠華美 ，珠寶華帶。帕拉風格
Museum, Antwerp, 4th February 2004-26th June 2005. 銅像依隨東印度原型風格，大多不帶鎏金，而十四世紀之後，
西藏佛像開始以尼泊爾鎏金造像為模。如本金剛薩埵之帕拉風
LITERATURE 格造像流行於西藏十二至十四世紀，同期間，西藏畫像亦見東
Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 印度風格影響，比較印度風格西藏如來唐卡，造型威嚴，長項
1981, pp. 189, pl. 38E, Private Collection London 鏈綴寳石，參考Kossak and Casey Singer，《Sacred Visions: Early
Jan van Alphen, Cast for Eternity : Bronze Masterworks from Paintings from Central Tibet》，紐約，1999，圖版23a-c。
India and the Himalayas in Belgium and Dutch Collections, 此像手持金剛鈴，故可辨認為金剛薩埵像，唯缺金剛橛。藏傳
Antwerp, 2004, pp. 156-57. 佛教認爲金剛薩埵乃淨化業障之本尊。
Rare grande sculpture de Vajrasattva en alliage de cuivre, Tibet
central, vers XIIIe siècle
‡ 60 000-100 000 €

Often thought to have a western Tibetan origin, this type of
early Tibetan sculpture is more likely to be from the central
regions where the primary stylistic influence up to around
the fourteenth century was the art of eastern India in the
Pala period (8th-12th c). Features in the Pala idiom include
the silver inlaid eyes, the elaborate beaded necklace with
gem-set pendants, and fishtail crown- and belt-ties. Tibetan
bronzes with Pala influence are mostly un-gilded, like the
majority of their Indian antecedents: Tibetan sculpture
after the fourteenth century is increasingly modelled and
gilded in the Nepalese manner. Pala influenced sculpture,
like the Vajrasattva, was popular in Tibet from around the
twelfth through the fourteenth century, about the same
time period that strong eastern Indian influence is seen in
Tibetan painting: compare the powerful modelling and the
long necklace with gem-set pendants seen in numerous
Indian influenced Tibetan Tathagata thangkas, for example
see Kossak and Casey Singer, Sacred Visions: Early Paintings
from Central Tibet, New York, 1999, pls. 23a-c.
Vajrasattva is identified by the bell (ghanta) in the left hand: a
diamond sceptre (vajra) is now missing from the raised right
hand. The popular deity is associated with purification rites in
Tibetan Buddhist practice.

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